NYCB Spring '06 -- Performances

[carbro]

And the season winds down.

[ViolinConcerto]

Wednesday, June 21 - Russian Seasons, In Memory Of....., Western Symphony, and a goodbye salute to Andrea Quinn (with a sweet photo insert in the program).

...and my last ticket for the season. When I was leaving, I saw large wooden crates that said "NYCB Photo Exhibit" and realized they were going to be packed up. That really brought a lump to my throat.

When Ms. Quinn first stepped onto her podium, and faced the stage, the audience, starting from the rows directly behind her, began standing and gave her a warm ovation.

Russian Seasons My first time watching this ballet, which I felt had many musical and visual tributes to Stravinsky's/Nijinska's Les Noces. It was too new for me to watch the individual performances, but my impression was that every dancer really loved what they were doing and gave their best. It was very original, and I appreciated its complexity.

The word that kept coming to mind as I watched was "REAL" -- the movement had real force, real effort and real power (much generated by centrifugal force -- spinning). The colors of the costumes were real --jewel tones, solid and intense. The emotions on the dancers' faces seemed real, especially in the sections towards the end. And there was real footwork, too! (How often do we see that?)

The response was 99.99% cheers, and one very loud boo. I'm in there with the majority.

In Memory Of.... had debuts by Miranda Weese and Jason Fowler. The dancing was beautiful as ever, but in the very beginning of the piece, Miranda seemed to anticipate the sad ending and looked very somber and mournful. I thought, "this girl is the same age as Aurora. Why should she be unhappy, she's with people she loves and who love her?" It felt wrong and threw me off for the rest of the ballet.

Western Symphony aways sends me out with a smile, and happy memories of seeing it back at City Center when I was a kid. Adam Hendrickson and Megan Fairchild were well paired for the second movement -- he's a very good actor, as well as a good dancer. Damian and Maria did the last movement, and whipped off their very challenging variations with charm. And, after hearing a volunteer docent point out that "the hat" (designed for Tanaquil LeClerc) is the very same one used in "The Merry Widow" section of Vienna Waltzes, I looked more carefully, and sure enough, it was the very same!

When Damian brought Andrea Quinn onstage for her customary bow at the curtain call, her face was bright red, with emotion, I thought. Then Richard Moredock brought out a very large bouquet, which she brought to the edge of the stage when she took a bow and gestured to the orchestra. When she went back to the line of dancers, out came Peter Martins with another HUGE bouquet. She managed to carry them both to the front of the stage for another bow. Then the corps men, who had snuck offstage, came on, dragging an even bigger basket of flowers, nearly as big as she was. Everyone cheered. It was very moving......ah well....... It was a very strong program, and I shall miss my favorite company until Winter Season.

[carbro]

I was there, too, ViolinConcerto, and it was a lovely (if unusual) tribute to Ms. Quinn. Too many bouquets to hold!

My opera glasses seem to have found a new hiding place, and I was unable to find them before dashing over to the theater. Perhaps this was a good thing, because I was never unable to see the whole stage in Russian Seasons, and it looked even better the second time! Rebecca Krohn didn't bring the earthy weightiness to the folk motifs in the role originated by Sofiane Sylve, but she infused it with interesting personality colors. This is the best work produced in the history of the Diamond Project, IMO, and deserves a place in the permanent repertory rotation. And the dancers seem to love it.

Maybe Miranda Weese will find a way to be more compelling in In Memory Of . . . , but she just didn't hold my attention during her debut. She had some lovely moments, but wasn't able to assert herself as the ballet's central figure. When the corps filled the stage in the central movement, she got lost among them.

Nilas Martins was adorable as the guy who'd do anything for his sweetheart, Jennie Somogyi, and Somogyi is looking stronger all the time. Not to be outdone, Damian knew just how far to push the Ham button in the last movement. The less he dances, the more he (thus we) get to wring the utmost from each foray into the spotlight.

- - - - - - - - - - - - -

Tuesday:

Despite strong performances from all, Friandises on second viewing a season after its premiere, looked vacuous.

I found the new Elo ballet, Slice to Sharp, a minor amusement. I was surprised, after reading such enthusiastic reports. Maybe I'm missing something. Maybe I'll get to see it again and "get" it.

Vienna Waltzes belonged to Pascale van Kipnis, who filled the air with erotic playfulness. She danced every moment to its maximum potential, wide and deep cambre reflecting the circles she and Jason Fowler traced on the floor. A dance to be savored. During the front-of-curtain calls, she alone held a single, red rose.

[ViolinConcerto]

"Nilas Martins was adorable as the guy who'd do anything for his sweetheart, Jennie Somogyi, and Somogyi is looking stronger all the time. Not to be outdone, Damian knew just how far to push the Ham button in the last movement. The less he dances, the more he (thus we) get to wring the utmost from each foray into the spotlight."

Yes, Carbro, I whould have credited Nilas (he gets so little)...who was adorable and had lots of fun.

There's a good article in the New York Sun about the conductor search:

http://www.nysun.com/article/34869?page_no=1

[drb]

June 24, matinee

Today began with Wheeldon's Klavier, somewhat dismissed at its premiere, but which in fairness seemed more "finished" at its second performance last season. I'm still not there with it, but am learning there is more there there: it has its mysteries, and while waiting for its satori, Susan Walters playing of Beethoven is so moving.... I'm already looking forward to a fourth viewing.

Miranda Weese is growing her version of In Memory of..., still perhaps anticipating the finale too much at the beginning, but her vision of the role is deepening. Wendy Whelan's interpretation is a tough act to follow. Charles Askegard's very subtle interpretation of Death as simply a lack of life, is a perfect foil to Miranda's victim.

Western Symphony, conducted by retired but not retiring Andrea Quinn closed the program. One keeps on thinking that Jennie Somogyi is finally all the way back. Only to see her notch it up another increment each performance. Ably partnered by Mr. Warmth, Nilas Martins. I couldn't help noticing that Kaitlyn Gilliland was again teamed with William Lin-Yee. They seem to have some magic going. Please Mr. Martins Sr., hire the Apprentice, and lets see these two in some soloist pairing. This is exactly what you do that the guy across the Plaza can't/won't. After the happy first movement came the charismatic duo of Sterling Hyltin and Albert Evans. Of course he's a star, but this young ballerina is on the verge of joining NYCB's constellation. Nicolaj Hubbe partnered Sara Mearns in the finale. The score lacks the musical fascination to spur that side of Sara's magic, so she wisely used role to hone her fouettes. Finished with a triple, early on there were a couple of doubles, earlier still a triple of great beauty. OK, Odette, wait till her next Odile!

[AmandaNYC]

June 24, matinee

I couldn't help noticing that Kaitlyn Gilliland was again teamed with William Lin-Yee. They seem to have some magic going. Please Mr. Martins Sr., hire the Apprentice, and lets see these two in some soloist pairing.

Gilliland was hired. She has been listed in the playbill as a corps member for the last few weeks (I don't know when exactly I noticed it). Robert Fairchild has also been listed.

-amanda

[ViolinConcerto]

and does anyone know about that happy, young, wonderfully energetic, Troy Schumacher, who has such a great line?

[Abby918]

I found the new Elo ballet, Slice to Sharp, a minor amusement. I was surprised, after reading such enthusiastic reports. Maybe I'm missing something. Maybe I'll get to see it again and "get" it.

I agree that Tuesday night's performance was not as good as the premiere. It lacked an overall energy and explosiveness that was displayed in the first performance. I still enjoyed watching Kowroski, Whelan and Hall tremendously but Scheller and DeLuz were a bit off in each of their pairings and the audience seemed to notice reacting with tepid applause at the end.

[drb]

and does anyone know about that happy, young, wonderfully energetic, Troy Schumacher, who has such a great line?

New Corps members Kaitlyn Gilliland, Robert Fairchild and Troy Schumacher are all now listed under Dancers on NYCB's site, so far sans photo and bio (William Lin-Yee, for instance, not quite so recent, has a photo but not yet a bio). Are there any other newbies? Has anyone seen an official announcement?

[Balanchinomane]

This past weekend was like the last volly in a fireworks display.

Saturday's matinee featured 2 beautiful performances by Miranda Weese

In Memory Of and Klavier. Wheeldon's Klavier is as lush and mysterious

as the Beethoven piano sonata it is set to. It was well received and hopefully

we'll get to see it again next year.

Western Symphony was a delight - the cowboys all swagger and the gals flirty.

Somogyi is looking great and Nilas is always the cavelier.

Evans is a real ham and Hyltin took the cues from him well. I also like

Fairchild in that role.

Sara Mearns showed us that fouettes can be fun - she didn't wear the hat -

maybe it was in Ringer's dressing room for that night's Vienna Waltzes.

Saturday night - Baiser de la Fee - Fairchild and DeLuz are very compatible -

but it's also good to have seen them paired with others. Fairchild subbed for

Borree in Voices of Spring with Antonio Carmena Sat and Sunday. DeLuz

with Weese in Voices of Spring last week, Scheller in Slice to Sharp, and

Stering Hyltin 3rd mvt Sym on C on Sunday.

Friandises is wonderful to watch - how can humans move so fast and with

such precision. Tiler Peck and Dan Ulbricht are outstanding. This is a great

piece to show off the talent in the corps. And the audience loves it.

Rachel Rutherford is particularly elegant with Hubbe in Vienna Woods.

Explosions Polka linked Carrie Lee Riggins with Arch Higgins on Sat, Tom Gold

on Sunday. Ringer and Martins - the Merry Widow. For Rosenkavalier

Kyra Nichols drew extra applause and she was divine. It's such a sentimental

role for both the dancers and the audience members. Selfishly, Vienna Waltzes

probably will never be set on another company because of the cost of the sets

and the costumes.

The last performance Sunday led with Symphony in C. Again, Somogyi was

strong in the 1st movement with Jonathan Stafford. Quinn conducted the

2nd Mvt as slow as I've ever heard it. Whelan and Askegard. No other words are

necessary. Abi Stafford and Albert Evans 4th Mvt. Andrea Quinn came out

front twice for curtain calls - she was all smiles.

Vienna Waltzes closed the season. Another terrific year. Thanks, NYCB